In many ways, 2011 was the year of Ryan Gosling. This was the peak “Hey Girl” era, and this year alone gave us the critical darling hotness of Drive and what we thought would suit the more traditional Academy tastes with The Ides of March. He was so omnipresent that a weak Best Actor field had us thinking for a moment that Oscar could make room for his most charming work in the trifecta, Crazy, Stupid, Love. Add him in to a cast of other beloved performers like Steve Carell, Julianne Moore, and Emma Stone, and you have a recipe for a real guilty pleasure.
Though Gosling did nab a Globe nomination for his ab-flashing work, this one might have been wishful thinking anyway with Oscar, but then again: there’s that pesky comedy bias. And while CSL has its champions (particularly programmers of cable television networks), the film also has all the trademark contrivances in screenwriter Dan Fogelman’s wheelhouse. This week we discuss Gosling’s ascent as a major leading man, the film’s creepy sexual politics, and how romantic comedies have failed Marisa Tomei.
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